Night Pace

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This piece is perhaps my most pure example of music that focusses its attention on tiny details: The 3 instruments each stick to their own little phrase from start to finish, and the shifts and deviations that the music lives by, become actors in an understated drama.

In the epilogue version, most of these details are stripped away. What is left is a kind of death mask of the original music.

Night Cycle is full-evenings work for clarinets, percussion, violoncello, interactive electronics and lighting. It consists of a number of movements that have been cut-up and joined togehter to form a continuous work: Radical Chunky texturising Paste In - Night Pace - Dark Bloom - Night Pace, Epilogue - The Greeen Queen I - Vespa crabro - The Greeen Queen II - Radical Chunky texturising Paste II

The 5 movements are each composed for a different set of instruments and are each treated differently electronically and in terms of lighting. Radical Chunky texturising Paste and Night Pace is for all three musicians, Darkbloom, The Greeen Queen and Vespa Crabro are solo pieces for, respectively, clarinets, percussion and cello.

My aim is, amongst other things, to awaken a sense for importance of the subtle details. Seeing the great in the small, if you will. Electronic amplification and processing is being used as a magnifying glass that makes it possible to draw attention to the tiny nuances without necessarily having to go to extremes. Light and staging offers the music a thought out counterplay and creates a magical space in and around the minimal but nevertheless constant variations and nuances. The goal is for this to create a generalized hypersensitivity, granting access to impressions one would normally be inclined to shut out. Not necessarily only pleasant impressions: In order to be gripped must accept the risk of being violated. Here is perhaps the hint of an explanation of the title, which I otherwise chose just because it sounded good: This openness reminds one of dreams in which impressions flood in regardless of whether they are wonderful, revolting or - often - both.

To counter any misconceptions: The music in Night Cycle is not an attempt to portray this dreamy openness, but in a way it tries to provoke or intensify it by raising awareness.

Night Pace was recorded in 2004-05 in collaboration with the ensemble mooseMATRIX consisting of Anna Klett (clarinet and bass clarinet), Frans Hansen (percussion), Peter Momsson (violoncello) and Jens Hørsving (production and sound-design). It is published on the Faroese record label TUTL (www.tutl.com).

Instrument + piano

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